“One of the most important architectural moves,” Bradfield says, “was the removal of the original circular staircase” in the living room. He designed a new one—finished in macassar ebony and brushed steel—that “lost none of our theatrical intent” and used the same materials for the bar, at rear. He created the silk-and-wool rug with Ruhlmann textiles in mind. A Lambert-Rucki bronze is near the stairs; a Boaz Vaadia sculpture is on the low table.

Photography by Kim Sargent

“I wanted the dining room to feel as if one were inside a Fabergé egg,” Bradfield explains. Roy Lichtenstein’s 1970 Modern Head Relief is at right. Polished nailheads accentuate the pattern in the wallcovering, from Clarence House. The chandelier and the circa 1925 furniture are from Sotheby’s. Bergamo chair fabric.

Photography by Kim Sargent

Taffeta draperies and a burlap wallcovering, from Schumacher, add intimacy to the library. The gondola-style chair was custom-made in Paris. Composition à Deux Personnages, a 1921 painting by Albert Gleizes, hangs over the console. The blown-glass vase is 1930s French.

Photography by Kim Sargent

A painting by Chilean artist Roberto Matta, right, served as Bradfield’s starting point for the master bedroom. An ebony headboard underlines the Jazz Age look. Stark wallcovering and carpet.

Photography by Kim Sargent

Elsewhere in the room, Femme Nu aux Bras Levés, 1940, by Joseph Csaky rests on a bureau of ebony with faux-ivory inlay.

Photography by Kim Sargent

“I’ve never lived in a space I’ve enjoyed as much,” Mann says of the house.

The pool was redesigned to accommodate the monumental marble Mancini sculpture, which weighs 3,200 pounds and required a crane to set in place. Its drama is enhanced by a black-mirrored niche and tropical landscaping by Mario Nievera.